Beijing Central Conservatory of Music

Top Classical January 6, 2021

Beijing Central Conservatory of Music

Home of the best music talents

Top Classical, January 2021
The Beijing Central Conservatory of Music was founded in 1950 and has since then merged with several other art schools to become one of the largest music schools in China. CCOM covers an area of more than 70,000 square meters and its library, with more than 55,000 volumes, is the largest in China.  

Programs and classes range from elementary to advanced. The major focus of the school is on classical and orchestral theory and performing, also with courses dedicated to traditional Chinese music. Over 500 pianos are owed by the conservatory, among many other instruments for the students to practice.  

Over the years, the school has become famous for the impressive level of their students. Indeed, CCOM students have received more than 1,800 awards in national music competitions and almost 500 in international ones. This outstanding level of expertise requires years of training and a lot of practice. In an effort to engage children early on in the appreciation and study of music, the university also has an affiliated program with a local middle school that allows young conservatory teachers a chance to get hands-on experience teaching while the middle school students can develop their talents. 
 
In the last years, the Conservatory has developed strong relationships with foreign institutions and individuals. Foreign musicians and academics are frequently invited to teach or offer classes at the Conservatory, which, in turn, also sends its own faculty members and students to other countries to continue their studies, lectures, or give presentations. 

In 2017 the Conservatory founded the Chinese Music Composition Center to foster new works by Chinese composers. In 2019 a Carnegie Hall concert presented pieces by eight Chinese composers, six of them world premieres. Yu Feng conducted the CCOM Symphony Orchestra in works that incorporate Chinese and Western musical elements, including traditional Chinese instruments.

A number of students of the school have carved a niche for themselves in various genres of musicology: Chen Yi, Ju Jin, Lang Lang, Liang Wang, Sa Ding Ding, Tan Dun, , Ye Xiaogang or Yuja Wang, just to name a few.

Always opened to new disciplines, on April 2018 On the occasion of the visit to China of maestro Walter Ríos, an outstanding Argentine composer and bandoneonist, the first chair of Argentine tango bandoneon and composition was established at the Central Conservatory of Music in Beijing.

It’s no surprise that this gigantic music conservatory is the first choice for many aspiring talented young musicians. Definitely a place to consider for those pursuing a brilliant music career.

Goldberg Variations

Top Classical January 4, 2021

Goldberg Variations

January 2021
Bach’s monumental Goldberg Variations occupy a unique place in piano literature as a work of unparalleled artistic value and brilliance. Lang Lang initially began studying this masterpiece more than twenty years ago and presents this album as the result of a long personal and emotional journey. They represent the beginning of a new stage in Lang Lang’s artistic evolution and it is the project of a lifetime.

This is where the unusual Lang Lang’s encounter with this work will surprise many. Where usually most pianists go through these variations in 70 minutes, Lang Lang takes us on a long journey of nearly… 90 minutes. Half an hour longer than the historical version of Glenn Gould.

Spread out over two discs, Lang Lang’s vision, aims to be deeply mystical and interior, which is surprising coming from an artist who has indeed accustomed us to a more fiery style.

The interpretations are perfectly measured, and the playing is stylistically correct, in many occasions his performances feel like he’s trying to grip all the energy out of the music, with sorely slow tempos and somehow artificial phrasing that sometimes reminds us more to Rachmaninov than to Bach. 

Tempi a the Thomaskirche are generally a bit faster and the performance seems more free and less constrained. But there are still moments when Lang’s ornaments and rubato appear repeatedly and far from being spontaneous, they seem to be added out of courtesy.

From the conception of Lang Lang, let us retain the combined fantasy and rigor. And, perhaps, this is what cannot completely satisfy the listener, at least one who seeks beyond the brilliance of the game, a spiritual boost.

These Goldberg Variations, unlike any other, will not be unanimous but they are deeply interesting.  Some will undoubtedly hate this sometimes excessive vision in weightlessness, others will appreciate the clarity of the reading and the overall moderation of this vision. 

Lang Lang takes us on an almost religious journey, of absolute concentration, where each melodic line is perfectly and measuredly interpreted.

– David Gutman

Goldberg Variations
Lang Lang
CD 1
Johann Sebastian Bach
1. Goldberg – Variationen, BWV 988: Aria
2. Goldberg – Variationen, BWV 988: Variatio 1 a 1 Clav.
3. Goldberg – Variationen, BWV 988: Variatio 2 a 1 Clav.
4. Goldberg – Variationen, BWV 988: Variatio 3 Canone all’Unisono. a 1 Clav.
5. Goldberg – Variationen, BWV 988: Variatio 4 a 1 Clav.
6. Goldberg – Variationen, BWV 988: Variatio 5 a 1 ovvero 2 Clav.
7. Goldberg – Variationen, BWV 988: Variatio 6 Canone alla Seconda. a 1 Clav.
8. Goldberg – Variationen, BWV 988: Variatio 7 a 1 ovvero 2 Clav. Al tempo di Giga
9. Goldberg – Variationen, BWV 988: Variatio 8 a 2 Clav.
10. Goldberg – Variationen, BWV 988: Variatio 9 Canone alla Terza. a 1 Clav.
11. Goldberg – Variationen, BWV 988: Variatio 10 Fughetta. a 1 Clav.
12. Goldberg – Variationen, BWV 988: Variatio 11 a 2 Clav.
13. Goldberg – Variationen, BWV 988: Variatio 12 Canone alla Quarta. (a 1 Clav.)
14. Goldberg – Variationen, BWV 988: Variatio 13 a 2 Clav.
15. Goldberg – Variationen, BWV 988: Variatio 14 a 2 Clav.
16. Goldberg – Variationen, BWV 988: Variatio 15 Canone alla Quinta. a 1 Clav. Andante
CD 2
Johann Sebastian Bach
1. Goldberg – Variationen, BWV 988: Variatio 16 Ouverture. a 1 Clav.
2. Goldberg – Variationen, BWV 988: Variatio 17 a 2 Clav.
3. Goldberg – Variationen, BWV 988: Variatio 18 Canone alla Sesta. a 1 Clav.
4. Goldberg – Variationen, BWV 988: Variatio 19 a 1 Clav.
5. Goldberg – Variationen, BWV 988: Variatio 20 a 2 Clav.
6. Goldberg – Variationen, BWV 988: Variatio 21 Canone alla Settima. (a 1 Clav.)
7. Goldberg – Variationen, BWV 988: Variatio 22 a 1 Clav. Alla breve
8. Goldberg – Variationen, BWV 988: Variatio 23 a 2 Clav.
9. Goldberg – Variationen, BWV 988: Variatio 24 Canone all’Ottava. a 1 Clav.
10. Goldberg – Variationen, BWV 988: Variatio 25 a 2 Clav. Adagio
11. Goldberg – Variationen, BWV 988: Variatio 26 a 2 Clav.
12. Goldberg – Variationen, BWV 988: Variatio 27 Canone alla Nona. a 2 Clav.
13. Goldberg – Variationen, BWV 988: Variatio 28 a 2 Clav.
14. Goldberg – Variationen, BWV 988: Variatio 29 a 1 ovvero 2 Clav.
15. Goldberg – Variationen, BWV 988: Variatio 30 Quodlibet. a 1 Clav.
16. Goldberg – Variationen, BWV 988: Aria da Capo
CD 3
Johann Sebastian Bach
1. Goldberg – Variationen, BWV 988: Aria
2. Goldberg – Variationen, BWV 988: Variatio 1 a 1 Clav.
3. Goldberg – Variationen, BWV 988: Variatio 2 a 1 Clav.
4. Goldberg – Variationen, BWV 988: Variatio 3 Canone all’Unisono. a 1 Clav.
5. Goldberg – Variationen, BWV 988: Variatio 4 a 1 Clav.
6. Goldberg – Variationen, BWV 988: Variatio 5 a 1 ovvero 2 Clav.
7. Goldberg – Variationen, BWV 988: Variatio 6 Canone alla Seconda. a 1 Clav.
8. Goldberg – Variationen, BWV 988: Variatio 7 a 1 ovvero 2 Clav. Al tempo di Giga
9. Goldberg – Variationen, BWV 988: Variatio 8 a 2 Clav.
10. Goldberg – Variationen, BWV 988: Variatio 9 Canone alla Terza. a 1 Clav.
11. Goldberg – Variationen, BWV 988: Variatio 10 Fughetta. a 1 Clav.
12. Goldberg – Variationen, BWV 988: Variatio 11 a 2 Clav.
13. Goldberg – Variationen, BWV 988: Variatio 12 Canone alla Quarta. (a 1 Clav.)
14. Goldberg – Variationen, BWV 988: Variatio 13 a 2 Clav.
15. Goldberg – Variationen, BWV 988: Variatio 14 a 2 Clav.
16. Goldberg – Variationen, BWV 988: Variatio 15 Canone alla Quinta. a 1 Clav. Andante
CD 4
Johann Sebastian Bach
1. Goldberg – Variationen, BWV 988: Variatio 16 Ouverture. a 1 Clav.
2. Goldberg – Variationen, BWV 988: Variatio 17 a 2 Clav.
3. Goldberg – Variationen, BWV 988: Variatio 18 Canone alla Sesta. a 1 Clav.
4. Goldberg – Variationen, BWV 988: Variatio 19 a 1 Clav.
5. Goldberg – Variationen, BWV 988: Variatio 20 a 2 Clav.
6. Goldberg – Variationen, BWV 988: Variatio 21 Canone alla Settima. (a 1 Clav.)
7. Goldberg – Variationen, BWV 988: Variatio 22 a 1 Clav. Alla breve
8. Goldberg – Variationen, BWV 988: Variatio 23 a 2 Clav.
9. Goldberg – Variationen, BWV 988: Variatio 24 Canone all’Ottava. a 1 Clav.
10. Goldberg – Variationen, BWV 988: Variatio 25 a 2 Clav. Adagio
11. Goldberg – Variationen, BWV 988: Variatio 26 a 2 Clav.
12. Goldberg – Variationen, BWV 988: Variatio 27 Canone alla Nona. a 2 Clav.
13. Goldberg – Variationen, BWV 988: Variatio 28 a 2 Clav.
14. Goldberg – Variationen, BWV 988: Variatio 29 a 1 ovvero 2 Clav.
15. Goldberg – Variationen, BWV 988: Variatio 30 Quodlibet. a 1 Clav.
16. Goldberg – Variationen, BWV 988: Aria da Capo

Janine Jansen

Top Classical December 28, 2020

Janine Jansen

A truly exciting and versatile artist

Top Classical, December 2020
Born January 7, 1978 in the Netherlands, Janine Jansen is one of the world’s great violin players. She began to study the violin at age 6 under the influence of her family: her father is an organist and harpsichord player (as is one of her brothers), her mother is a singer, and another brother plays the cello in a Dutch radio orchestra. Her uncle is the renowned bass Peter Kooy.

Ever since her Concertgebouw debut in 1997, Janine Jansen has been a huge star in her native Holland. Today she is internationally recognized as one of the great violinists. Her London debut in November 2002, accompanied by the Philharmonia Orchestra conducted by Vladimir Ashkenazy, was quickly followed by invitations from some of the world’s most prestigious orchestras, including the Berliner Philharmoniker and the New York Philharmonic, the Royal Concertgebouw Orchestra, and the great orchestras of London, Paris and Munich. She has worked with such eminent conductors as Lorin Maazel, Valery Gergiev or Paavo Järvi among many others. 

 In 1993 she founded the International Chamber Music Festival in Utrecht, which continues to take place every year. 

Janine Jansen has an exclusive recording contract with Decca (Universal Music).  In 2009 Jansen released her recording of the L.v. Beethoven and Benjamin Britten Violin Concertos with Deutsche Kammerphilharmonie Bremen, the London Symphony Orchestra. Both orchestras were conducted by Paavo Järvi. Jansen said that recording these concertos together was a long-standing desire of hers, as she sees these two works as among the greatest concertos in the current repertoire. Nowadays, she sees a recording session as being “like the biggest lesson I have every year, just by listening back to yourself in such a critical, detailed way.” “You learn a lot from it.” 

Jansen is the recipient of numerous prizes, including four Edison and three ECHO Klassik awards. She was awarded the 2003 Nederlandse Muziekprijs (Dutch Music Prize) and the Concertgebouw Prize in January 2013. She is also the recipient of the Royal Philharmonic Society’s Instrumentalist Award. 

Since 2000, Janine Jansen has played the 1727 Barrère Stradivari. “I know it so well, I love it. It has so many possibilities. It’s not a typical dark instrument or a typical strong instrument, but I feel that I can do what I need to get there. It’s very colourful.”said the artist during an interview for Strings Magazine. 

Janine next tour date is at Het Concertgebouw in Amsterdam, after that she will be at Philharmonie de Paris in Paris.

The Musikverein

Top Classical December 21, 2020

The Musikverein

The secret behind perfect acoustics

Top Classical, December 2020
The Musikverein is the most famous center of Classicism. It is placed in an ideal city: Vienna the city of music in all its splendor. It remains the home of Vienna’s concert life, and it still has a prime spot in the pantheon of classical music auditoria.  

The auditorium is praised to be one of the most traditional and the favorite for many first-rate artists. The building on Karlsplatz, a short distance from the splendid boulevard that is the Ringstraße, is reminiscent of a temple, built in 1870 by Theophil Hansen in a historical style, with columns, pediments and reliefs. 

The Musikverein was founded in 1812 as “Society of Music Friends in Vienna”. Since 1831, the society organized concerts in a small hall with only 700 seats.  But with the growing of the social importance of music performances, the Society soon realized that it was in urgent need of a bigger venue. 

Theophil Hansen, one of the most popular Ringstraße architects, was chosen for the construction of the “Musikverein”. He created a massive building in neo-Classical style, which was officially opened in 1870. The “Goldene Saal”, was immediately famous for its excellent acoustics. Even today, it is considered to be among the best concert halls of its size in the World. 

The Great Hall of the Musikverein, also known as the Golden Hall, is famous for its sumptuous contents. Apollo and the muses are the object of all eyes, and the columns have been shaped like women in antiquity. Its design is incomparable, in addition to the acoustics of the hall.  

Acousticians have proved that this opulent ornamentation are the key Musikverein’s brilliant sound. Because the sound bounces off so many different planes and angles, it becomes warmer and richer, converting hall itself in an instrument that works as a resonating chamber. The sensation that sound transmits is unique in the whole world.  

Every year in the Great Hall of the Musikverein the New Year’s Concert of the Vienna Philharmonic Orchestra takes place, which is broadcasted to an audience of millions internationally. 

Since 2004, there are four new rooms in the Musikverein: the Crystal Hall, the Metal Hall, the Stone Hall and the Wood Hall. Here is where the new artists traditionally make their debuts. In this way, for example, the internationally famous soprano Anna Prohaska made her debut at the Crystal Hall. 

This January first 2021 though, because of the Coronavirus crisis, millions of people around the world enjoyed only on television or online the traditional concert:  the Golden Hall remained closed to the public and the applauses came from the speakers.

Christmas Oratorio

Top Classical December 17, 2020

Christmas Oratorio

December 2020
John Eliot Gardiner, founder and director of the “Monteverdi Choir” and of the “English Baroque Soloists”, ensembles of world-famous in the interpretation of baroque music, is one of the greatest connoisseurs and interpreters of Bach. Since 1999 he has developed a project that presents the Sacred Cantatas according to the order of the liturgical calendar. 

Gardiner is one of the best interpreters of Bach’s vocal music and thanks to this the choir also seems like a soloist, with a rich and exuberant texture. Now, in full and splendid maturity, he conducts directly from his heart knowing that his choir and orchestra, his human instruments, his lifetime project, will intuït his intentions, almost before he expresses them. The result is an unforgettable performance.  

The choir performance is flawless, showing exceptional technical competence throughout the whole demanding repertoire. Especially in the exciting the sublime choral “Ziom härt die Wachter singen”. Gardiner’s deep knowledge of ancient song is visible and has been the reason for his triumph also in several operas. Some very well-prepared soloists with great vocal qualities stand out from the choir, alternating his performances under the maestro’s guidance.   

The performance of the English Baroque Solists was once again enormous. The ensemble is a malleable, pleasing, precise instrument with fine sensitivity, always ready to respond admirable to the baton’s demands. Bernarda Fink is once again perfect in both emotion and technique, alongside an Olympian Dietrich Henschel, even in the virtuoso passages (aria with obligatory trumpet from Cantata I). Soprano Claron McFadden, showed her seductive tone and great control, only just a bit imprecise in the articulation, especially in the ornaments.  

The Monteverdi Choir is formed by an authentic elite, is just the perfect conjunction of individual reliability and solvency without losing the group spirit and common sensitivity.  

The experience and the long collaboration between singers, soloists and cleverly conducted choir, provides a magnificent musical recording which will surely delight Bach’s music lovers.

– David Smith

Christmas Oratorio
John Eliot Gardiner
Johann Sebastian Bach, Christian Friedrich Henrici
1. Weihnachtsoratorium BWV 248, ESTER TEIL – Am ersten Weihnachtsfeiertage: No.1 Chorus: “Jauchzet, frohlocket”
2. Weihnachtsoratorium BWV 248, ESTER TEIL – Am ersten Weihnachtsfeiertage: No.2 Evangelist: “Es begab sich aber zu der Zeit”
3.Weihnachtsoratorium BWV 248, ESTER TEIL – Am ersten Weihnachtsfeiertage: No.3 Rezitativ (Alt): “Nun wird mein liebster Bräutigam”
4. Weihnachtsoratorium BWV 248, ESTER TEIL – Am ersten Weihnachtsfeiertage: No.4 Aria (Alto): ” Bereite dich, Zion”
5. Weihnachtsoratorium BWV 248, ESTER TEIL – Am ersten Weihnachtsfeiertage: No.5 Choral: “Wie soll ich dich empfangen”
6. Weihnachtsoratorium BWV 248, ESTER TEIL – Am ersten Weihnachtsfeiertage: No.6 Evangelist: “Und sie gebar ihren ersten Sohn”
7. Weihnachtsoratorium BWV 248, ESTER TEIL – Am ersten Weihnachtsfeiertage: No.7 Chorale: “Er ist auf Erden kommen arm”, Recitativ (Bass): Wer will die Liebe recht erhöhn”
8. Weihnachtsoratorium BWV 248, ESTER TEIL – Am ersten Weihnachtsfeiertage: No.8 Aria (Baß): “Großer Herr, o starker König”
9. Weihnachtsoratorium BWV 248, ESTER TEIL – Am ersten Weihnachtsfeiertage: No.9 Choral: “Ach mein herzliebes Jesulein”
10. Weihnachtsoratorium BWV 248, ZWEITER TEIL – Am zweiten Weihnachtsfeiertage: No.10 Sinfonia
11. Weihnachtsoratorium BWV 248, ZWEITER TEIL – Am zweiten Weihnachtsfeiertage: No.11 Evangelist: “Und es waren Hirten in derselben Gegend”
12. Weihnachtsoratorium BWV 248, ZWEITER TEIL – Am zweiten Weihnachtsfeiertage: No.12 Chorale: “Brich an, o schönes Morgenlicht”
13. Weihnachtsoratorium BWV 248, ZWEITER TEIL – Am zweiten Weihnachtsfeiertage: No.13 Evangelist, Engel: “Und der Engel sprach zu Ihnen”
14. Weihnachtsoratorium BWV 248, ZWEITER TEIL – Am zweiten Weihnachtsfeiertage: No.14 Rezitativ (Baß): “Was Gott dem Abraham Verheißen”
15. Weihnachtsoratorium BWV 248, ZWEITER TEIL – Am zweiten Weihnachtsfeiertage: No.15 Aria (Tenor): “Frohe Hirten, eilt, ach eilet”
16. Weihnachtsoratorium BWV 248, ZWEITER TEIL – Am zweiten Weihnachtsfeiertage: No.16 Evangelist: “Und das habt zum Zeichen”
17. Weihnachtsoratorium BWV 248, ZWEITER TEIL – Am zweiten Weihnachtsfeiertage: No.17 Chorale: “Schaut hin, dort liegt im finstern Stall”
18. Weihnachtsoratorium BWV 248, ZWEITER TEIL – Am zweiten Weihnachtsfeiertage: No.18 Rezitativ (Baß): “So geht denn hin, ihr Hirten, geht”
19. Weihnachtsoratorium BWV 248, ZWEITER TEIL – Am zweiten Weihnachtsfeiertage: No.19 Aria (Alto): “Schlafe, mein Liebster, geniesse der Ruh”
20. Weihnachtsoratorium BWV 248, ZWEITER TEIL – Am zweiten Weihnachtsfeiertage: No.20 Evangelist: “Und alsbald war da bei dem Engel”
21. Weihnachtsoratorium BWV 248, ZWEITER TEIL – Am zweiten Weihnachtsfeiertage: No.21 Chor: “Ehre sei Gott in der Höhe”
22. Weihnachtsoratorium BWV 248, ZWEITER TEIL – Am zweiten Weihnachtsfeiertage: No.22 Rezitativ (Baß): “So recht, ihr Engel, jauchzt und singet”
23. Weihnachtsoratorium BWV 248, ZWEITER TEIL – Am zweiten Weihnachtsfeiertage: No.23 Chorale: “Wir singen dir in deinem Heer”
24. Weihnachtsoratorium BWV 248, DRITTER TEIL – Am dritten Weihnachtsfeiertage: No.24 Chor: “Herrscher des Himmels, erhöre das Lallen”
25. Weihnachtsoratorium BWV 248, DRITTER TEIL – Am dritten Weihnachtsfeiertage: No.25 Evangelist: “Und da die Engel von ihnen gen Himmel fuhren”
26. Weihnachtsoratorium BWV 248, DRITTER TEIL – Am dritten Weihnachtsfeiertage: No.26 Chor: “Lasset uns nun gehen gen Bethlehem”
27. Weihnachtsoratorium BWV 248, DRITTER TEIL – Am dritten Weihnachtsfeiertage: No.27 Rezitativ (Baß): “Er hat sein Volk getröst”
28. Weihnachtsoratorium BWV 248, DRITTER TEIL – Am dritten Weihnachtsfeiertage: No.28 Choral: “Dies hat er alles uns getan”
29. Weihnachtsoratorium BWV 248, DRITTER TEIL – Am dritten Weihnachtsfeiertage: No.29 Duett (Sopran, Baß): “Herr, dein Mitleid, dein Erbarmen”
30. Weihnachtsoratorium BWV 248, DRITTER TEIL – Am dritten Weihnachtsfeiertage: No.30 Evangelist: “Und sie kamen eilend”
31. Weihnachtsoratorium BWV 248, DRITTER TEIL – Am dritten Weihnachtsfeiertage: No.31 Aria (Alt): “Schließe, mein Herze, dies selige Wunder”
32. Weihnachtsoratorium BWV 248, DRITTER TEIL – Am dritten Weihnachtsfeiertage: No.32 Recitativ (Alt): “Ja, ja, mein Herz soll es bewahren”
33. Weihnachtsoratorium BWV 248, DRITTER TEIL – Am dritten Weihnachtsfeiertage: No. 33 Choral: “Ich will dich mit Fleiß bewahren”
34. Weihnachtsoratorium BWV 248, DRITTER TEIL – Am dritten Weihnachtsfeiertage: No. 34 Evangelist: “Und die Hirten kehrten wieder um”
35. Weihnachtsoratorium BWV 248, DRITTER TEIL – Am dritten Weihnachtsfeiertage: No. 35 Choral: “Seid froh dieweil”
36. Weihnachtsoratorium BWV 248, DRITTER TEIL – Am dritten Weihnachtsfeiertage: No. 24 Chor: Herrscher des Himmels, erhöre das Lallen”

Le Chanteur

Top Classical December 7, 2020

Le Chanteur

December 2020
After the great acceptance among the audience and critics of the releases ‘Caruso 1873’, the opera singer surprises us with his new album ‘Le Chanteur’.

“Le Chanteur” is a fine and skillful interlacing of several popular songs, arranged by Ivan Cassar, the tenor’s faithful traveling companion.  

In this tribute to French song, he brings back to life songs he performed during his childhood and then when he was playing cabaret, long before going on the biggest lyrical stages. As he says, this record brings him back to fond memories. Roberto Alagna delights us once again, this time not with his tenor voice, but by revisiting these old songs with his own personality, his dynamism, his sweetness, and with magnificent arrangements. 

Popular music is a genre which should be prudently approached by classical singers. With its own rules and patterns it’s easy for those novices in these to sound poor or even tedious. But Alagna’s interpretation reaches perfection– special mention should be made of his father who was a big lover of popular music, while his mother initiated him as a boy into opera.

Alagna takes on the relaxed rhythms of the style, often with early entries, and slides. And we can clearly hear every word, many of them without accessory liner notes. The combination of instrumentalists brings variety to the interpretation, including some clarinet and trumpet astonishing interventions in ‘Bohémienne aux grands yeux noirs’, 

Exceptional interpreter capable of moving because he is able to communicate the true meaning and passion in every word he sings. Roberto Alagna’s a velvety but at the same time powerful voice, with clean and endless highs. A perfect instrument, from which the tears as well as the smiles of the audiences emerge. He has tackled the South American and Sicilian repertoire and the Neapolitan serenades in a simply divine way and now he adds another piece to his interpretations with this wonderful CD which is a foray into the most beautiful French songs. A disc that shows us the umpteenth facet of a great artist, capable of crossing genres with a unique style. Remarkable tenor in opera, extraordinary singer in all genres.  

He’d been wanting to record this repertoire for years. The result is an absolutely fascinating disc. An album which will easily find its audience and definitely a piece to owe if you are a popular music lover.

– Paul Thomas

Le Chanteur
Roberto Alagna
Serge Lama / Alice Dona
1. Le chanteur
Henri Contet / Norbert Glanzberg
2. Padam, padam
Jacques Prévert / Joseph Kosma
3. Les Feuilles mortes
Nino Rastelli / Dino Olivieri/ Louis Poterat
4. J’attendrai
Enrico Macias
5. Adieu mon pays
Umberto Bertini / Gordni Kramer / André de Badet
6. Un jour je te dirai
André de Badet / Armando Orefiche
7. Mayari
Charlys / Henry Himmel
8. Bohémienne aux grands yeaus noirs
Jacques Larue / Djago Reinhardt
9. Nuages
Jacques Plante / Louis Ferrari
10. Domino
Jacques Vérières / Marc Heyral
11. Mon pot’ le gitan
Eugène Gohin / Henry Himmel
12. Il pleut sur la route
Jean Boyer / Georges Van Parys
13. C’est un mauvais garçon
Roberto Alagna / Emanuel Schlechter / Jerzy Petersburski
14. Maniusiu, ach!
Jacques Brel / Gérard Jouannest
15. La chanson des vieux amants

Jessye Norman

Top Classical November 13, 2020

Jessye Norman

Pure power and poetry

Top Classical, November 2020
Owing a powerful voice that allowed her to explore various genres, from sacred music to opera, Jessye Norman has been one of the most successful American singers. She won five Grammy Awards, four for her recordings and one for her career, and in 2009 she received the National Medal of Arts from Barack Obama. Thanks to her starring roles in classics such as Carmen and Aída and her performances at the Met, the Royal House and La Scala, she achieved world fame. 

Born September 15, 1945 in Augusta, Georgia, Norman grew up surrounded by music as one of five children in a family of amateur artists. She was introduced to gospel at age four, and as a young girl began listening to radio broadcasts of performances at the Metropolitan Opera, where she would eventually become legend. 

At a very young age, she began singing on the churches and her voice became soon noticed: she obtained a scholarship at Howard University in Washington (DC.) and completed her studies at Peabody University and the University of Michigan. 

She established herself in Europe in the 1970s, making her operatic debut in Berlin in 1969 before charming elsewhere on the continent including Italy. The first appearance was a performance at the Deutsche Oper in Berlin. Norman played Elizabeth brilliantly in the opera “Tannhäuser”. Then she was invited to La Scala Theatre, the Royal Opera House in London and the Salzburg Opera House Festival. The singer is known as the greatest soprano of the era. Her voice has been praised for her wideness, crystal-transparency, and great musicality. The audience was delighted with the bright temperament and distinctive appearance of the opera heroine. 

After conquering Europe, Norman returned home, where she performed brilliantly at the Metropolitan Opera and the Philadelphia Opera. She was not limited to classical arias, but she also excelled in the most demanding works composed by Strauss, Berlioz, Stravinsky, Meyer and Bartok. She devoted much of her musical life to singing Lieder recitals, symphonic and spiritual music. Her recording of Strauss’s Vier Letze Lieder (Four Last Songs), under the baton of Kurt Masur, is one of the best CD performances of this work. Her voice also graced the songs of Schubert, Mahler, Brahms, Janáček, Ravel, Poulenc, Schumann, Strauss, Wolf and Schoenberg. 

Norman has been one of the most decorated American singers. She won five Grammy Awards, four for her albums and one for her musical career. She received the prestigious Kennedy Center Honor in 1997 (she was the youngest person to receive it) and the National Medal of Arts in 2009. She holds a slate of honorary doctorates from prestigious schools including Juilliard, Harvard and Yale. Besides her impressive stature, musical accomplishments she also served on a half dozen boards such as The New York Public Library, The Elton John Aids Foundation, NYC Meals on Wheels and the Lupus Foundation.  She started a music school in her hometown of Augusta, Georgia where students can study for free. 

The American soprano passed away on September 30, 2019, at the age of 74. Her priceless voice and her footprint for her great social implication will remain forever.

Carnegie Hall

Top Classical November 13, 2020

Carnegie Hall

Where every finest artist wants to be

Top Classical, November 2020
Since it opened in 1891, when composer Tchaikovsky took to the stage to conduct his work on opening night, Carnegie Hall has set the international standard for musical excellence as the aspirational destination for the world’s finest artists.

From Tchaikovsky, Dvořák, Mahler, and Bartók to George Gershwin, Billie Holiday, Benny Goodman, Judy Garland, and The Beatles, an honor roll of music-making artists representing the finest of every genre has filled Carnegie Hall throughout the years.

Gino Francesconi, the hall’s director of archives, estimates that 50,000 performances have taken place in the building, which includes two smaller venues besides the main hall. In fact, Francesconi said, “I think we’ve had more events here than any other theater on the planet.”

It was steel magnate Andrew Carnegie who was inspired to build Carnegie Hall by his new wife, Louise, singer in the Oratorio Society of New York. The hall was designed by William Burnet Tuthill, a professional architect and cellist who had never built a concert hall before. The opening ceremony was on May 5, 1891, with a spectacular concert that featured the now world famous Russian composer Pyotr Ilych Tchaikovsky, conducting his own music in his American debut. Since then, many first line artists have proudly performed there. Not only the greatest classical, jazz, and popular musicians, but also for the foremost comedians, authors, social crusaders, world figures, and orators of our time.

There was a time tough, that Carnegie Hall, having fallen into disrepair in the late 1950s, was once slated for demotion. The building was saved only when bought in 1960 by the City of New York after a major campaign led by renowned violinist Isaac Stern.

Today, Carnegie Hall presents a wide range of exceptional musical performances together with each season on its three great stages: the renowned Stern Auditorium / Perelman Stage, the intimate Weill Recital Hall, and the innovative Zankel Hall. Carnegie Hall’s Weill Music Institute creates and social impact programs vastly followed by people and around the globe, playing a central role in the Hall’s commitment to making great music accessible to as many people as possible.

For this year’s season the hall had planned to welcome featured artists such as Rhiannon Giddens, Jordi Savall, Yannick Nézet-Séguin and Andrew Norman. However, in June 2020 Carnegie Hall announced that, due to COVID-19, all programming for the rest of the year will be canceled. The venerable institution plans to resume operations January 7, 2021. “This was a very difficult decision for us to make, however the safety of Carnegie Hall’s artists, audiences, and staff is paramount,“ said Clive Gillinson, Executive and Artistic Director of Carnegie Hall. The venue intends to expand its digital offerings, including remote concerts from musicians at home, interview and feature series, and public access of archived recordings.

Cameron Carpenter

Top Classical November 9, 2020

Cameron Carpenter

November 2020
This album released by Sony Classical was the American organist Cameron Carpenter first orchestral recording, and also his first live concert recording. This release features an original Rhapsody version of a song by Rachmaninoff’s Paganini, recorded live at Berlin’s Konzerthaus, alongside Poulenc’s Popular Concerto for Organ, Strings and Timpani. The album program is completed by Vierne’s Organ Symphony No. 1, recorded live as the encore for the concert. Carpenter is accompanied by the Konzerthausorchester Berlin under the direction of renowned director Christoph Eschenbach.  

The artist’s adaptation for organ and orchestra of the Rhapsody on a theme by Rachmaninov’s Paganini demonstrates Carpenter’s exemplary musical ability.  This is not an easy task indeed, because of the complexity involved in combining the orchestra with a solo instrument of equal or superior possibilities. However, Carpenter’s version is perfectly balanced, with no relevant interferences and just right to meet his personality and his manual and pedal technique. The Rachmaninov’s piece keeps the original essence but with a new fresh spirit. Carpenter performs with great control and artistry, and at the same time he takes our breath away leading us to feel the unbridled romanticism of the work. 

Poulenc’s concerti is considered one of the most popular of organ concerti and affecter this recording it definitely became even more well known. Carpenter, now as a rigorous soloist, masters it amazing us once again with his incredible technique.  

Maybe the weakest point of the recording is The Vierne where we can spot an over elongation of the musical line and the frequent change in tonal registrations and the tempi which doesn’t seem to match with the original work. 

The orchestra accompaniments under the artistic and creative direction of Mr. Christoph Eschenbach become a crucial part of the performance. They sound precise and clear and in complete synchronization with the organist.  

We must also point out the superb recording quality of the CD which totally gives protagonism to the organ in this tonal combination of organ and orchestra. The sound jumps out of the digital world into your space with power and motion. 
The 14 pages booklet also contain the detailed explanations of this fine M&O Touring Organ and is the first time that they have been published. We definitely recommend you to use a good stereo System to enjoy this Jewel CD to the fullest!

– Clara Horner

Rachmaninoff. Rhapsody on a theme of Paganini
Cameron Carpenter
Sergei Rachmaninoff
1. Rhapsody on a Theme of Paganini, Op.43: Introduction: Allegro vivace – Variation I: Precedente
2. Rhapsody on a Theme of Paganini, Op.43: Theme: L’istesso tempo
3. Rhapsody on a Theme of Paganini, Op.43: Variation 2: L’istesso tempo
4. Rhapsody on a Theme of Paganini, Op.43: Variation 3: L’istesso tempo
5. Rhapsody on a Theme of Paganini, Op.43: Variation 4: Più vivo
6. Rhapsody on a Theme of Paganini, Op.43: Variation 5: Tempo precedente
7. Rhapsody on a Theme of Paganini, Op.43: Variation 6: L’istesso tempo
8. Rhapsody on a Theme of Paganini, Op.43: Variation 7: Meno mosso, a tempo moderato
9. Rhapsody on a Theme of Paganini, Op.43: Variation 8: Tempo I
10. Rhapsody on a Theme of Paganini, Op.43: Variation 9: L’istesso tempo
11. Rhapsody on a Theme of Paganini, Op.43: Variation 10: L’istesso tempo
12. Rhapsody on a Theme of Paganini, Op.43: Variation 11: Moderato
13. Rhapsody on a Theme of Paganini, Op.43: Variation 12: Tempo di minuetto
14. Rhapsody on a Theme of Paganini, Op.43: Variation 13: Allegro
15. Rhapsody on a Theme of Paganini, Op.43: Variation 14: L’istesso tempo
16. Rhapsody on a Theme of Paganini, Op.43: Variation 15: Più vivo scherzando
17. Rhapsody on a Theme of Paganini, Op.43: Variation 16: Allegretto
18. Rhapsody on a Theme of Paganini, Op.43: Variation 17: Allegretto
19. Rhapsody on a Theme of Paganini, Op.43: Variation 18: Andante cantabile
20. Rhapsody on a Theme of Paganini, Op.43: Variation 19: A tempo vivace
21. Rhapsody on a Theme of Paganini, Op.43: Variation 20: Un poco più vivo
22. Rhapsody on a Theme of Paganini, Op.43: Variation 21: Un poco più vivo
23. Rhapsody on a Theme of Paganini, Op.43: Variation 22: Marziale: Un poco più vivo Alla breve
24. Rhapsody on a Theme of Paganini, Op.43: Variation 23: L’istesso tempo
25. Rhapsody on a Theme of Paganini, Op.43: Variation 24: A tempo un poco meno mosso
26. Rhapsody on a Theme of Paganini, Op.43: Più vivo
Francis Poulenc
27. Concerto for organ, timpani and strings in G minor FP 93: I. Andante
28. Concerto for organ, timpani and strings in G minor FP 93: II. Allegro giocoso
29. Concerto for organ, timpani and strings in G minor FP 93: III. Subito Andante Moderato
30. Concerto for organ, timpani and strings in G minor FP 93: IV. Tempo Allegro. Molto Agitato
31. Concerto for organ, timpani and strings in G minor FP 93: V. Très calme. Lent
32. Concerto for organ, timpani and strings in G minor FP 93: VI. Tempo de l Allegro initial
33. Concerto for organ, timpani and strings in G minor FP 93: VII. Tempo Introduction – Largo
Louis Vierne
34. Organ Symphony No. 1 in D minor, Op. 14: VI. Finale

Chopin – Piano Concertos

Top Classical November 2, 2020

Chopin – Piano Concertos

November 2020
The CD was recorded by the young virtuoso, Benjamin Grosvenor, with the help of conductor Elim Chan at the lead of the Royal Scottish National Orchestra. As the notice states, “one could summarize Benjamin Grosvenor’s rapid rise to the top in a litany of superlatives.” 

The poetic rhyme and spontaneity are repeatedly found throughout these two scores, very well brought to life by Grosvenor. His admirable technique with the right tone and intensity is just mesmerizing. 

The movements succeed in a colorful lyricism as well as eloquent virtuosism. The orchestra glows in sparkling lights, providing a gentle and rhythmic background to the soloist, in which Grosvenor pours all his virtuosity leading us though Chopin’s magnificent music, at once melancholy, fanciful and vigorous. The artists great sensitivity and deep charm is fully revealed in Opus 11, where he gives the Larghetto a refined dreamlike setting in which the listener will feel deeply immersed. The other two movements are confidently performed letting us enjoy the artist’s gifted abilities but without overload or mannerism.  

Grosvenor shines in Opus 21 eagerly delving into lines that seem improvised, with enthusiasm, dynamism and explicit chromatism.  He delights us with a vehement sound that fluidly goes through a song of pearly in a flawless execution, at the top of the pianistic gesture.  

Of the two Concertos, it is above all n° 1 that blows us away from the beginning to the end. His first movement Allegro maestoso admirably articulated, is performed with great passion and lyricism. Benjamin Grosvenor leads us in this intimate Chopinian immersion, all the way to the ultimate achievement of the author: the Andante spianato and Grande Polonaise brillante opus 22 (1836). The work is deeply charged with the nostalgic feeling that Chopin wanted to transmit, and Grosvenor’s interpretation makes it palpable to us. The incredible romantic maturity in which the artists perform the E minor is full of passion that flows through all the piece and goes straight to the listeners’ hearts. 

At the lead of the Scottish National, Elim Chan confirms his talent of attentive support, even if certain accents sometimes ring a little too rough. Nevertheless, this recording made in Glasgow places Grosvenor / Chan among the best modern versions of Chopin’s concertos.

– David Gutman

BENJAMIN GROSVENOR
CHOPIN PIANO CONCERTOS