In Nikolai Lugansky’s rendition of Wagner’s ‘Famous Opera Scenes’, listeners are treated not just to a display of technical brilliance but to a transformative journey through the heart and soul of Wagnerian drama. While Lugansky’s virtuosity is evident from the outset, his true artistry lies in his ability to transcend mere technical prowess and evoke the profound emotional depths inherent in Wagner’s compositions. 

From the resplendent cascades of the Magic Fire Music to the somber reverie of Siegfried’s Funeral March, Lugansky’s interpretation is marked by an exquisite blend of precision and passion. Each note is imbued with meaning, each phrase carefully crafted to convey the complex tapestry of emotions that define Wagner’s operatic universe. 

What sets Lugansky’s performance apart is his uncanny ability to capture the essence of each scene, drawing listeners into the very fabric of the narrative. Whether it’s the nostalgia tinged with vulnerability in Siegfried’s Funeral March or the juxtaposition of innocence and pain in Parsifal, Lugansky’s keen insight and sensitivity shine through, illuminating the nuances of Wagner’s musical language. 

Despite the varied origins of the arrangements, Lugansky navigates them with consummate skill, seamlessly weaving together disparate threads into a cohesive and immersive tapestry of sound. His rendition of the Götterdämmerung excerpts stands as a testament to his mastery, holding its own against the transcriptions penned by 19th-century giants. 

Furthermore, the recording’s pristine sound quality serves to enhance the overall listening experience, allowing Lugansky’s artistry to shine through with crystal clarity. In his hands, Wagner’s ‘Famous Opera Scenes’ are not merely performed but lived, evoking a sense of awe and wonder that resonates long after the final note has faded. 

Nikolai Lugansky’s ‘Famous Opera Scenes’ is a triumph of interpretation and execution, offering listeners an immersive journey into the heart of Wagnerian splendor. Whether you’re a seasoned aficionado or a newcomer to the world of opera, this recital is sure to captivate and inspire, reaffirming Wagner’s enduring legacy as one of the greatest composers of all time. 

The debut album “Haydn All-Stars” by the young Swiss-French Trio Ernest is a striking proof of their musical prowess and commitment to bringing fresh perspectives to classical music. Charlotte Gardner’s insightful review captures the essence of the album, revealing an ensemble that is not only firmly rooted in tradition but also unafraid to explore contemporary voices. 

The album opens with Haydn’s Piano Trio in E minor, HobXV:12, showcasing the trio’s crisp, brightly sharp-edged, and powerful performance. The confident and distinctive ensemble nature of Trio Ernest is immediately apparent, setting the tone for a musical journey that combines the classical genius of Haydn with the innovative spirit of later composers. 

Gardner highlights the trio’s commitment to programming works by women in each concert, reflected in the inclusion of a 2007 piece by Belgian composer Jacqueline Fontyn. The review praises the trio’s thematic and enterprising approach to the program, creating a cohesive and engaging listening experience. 

Trio Ernest’s accolades, including the First Prize at the Orpheus Chamber Music Competition and the Chamber Music Award of Vienna’s ISA Festival, underscore their remarkable talent and dedication. Gardner notes their residency at the Chapelle Musicale Reine Elisabeth in Brussels and upcoming tour in China, emphasizing the trio’s growing influence on the global stage. 

The heart of the album lies in its tribute to Haydn, featuring four of his piano trios complemented by works from later composers inspired by him. The period-aware Haydn readings exhibit a fantastic freshness, energy, and range of color. Gardner praises the trio’s interpretation of the E minor Trio, particularly highlighting the central Andante for its charm, spirit, and the piano’s bell-like tone. The concluding Presto is described as a poised and vivacious balancing act, showcasing the trio’s musical finesse. 

The trio’s exploration of later composers’ works is equally commendable, with lucid-textured interpretations of Ravel’s Menuet sur le nom de Haydn and Brahms’s lied ‘Immer leiser.’ Gardner notes the trio’s ability to capture the whimsy in Ravel’s composition and the Romanticism-breathed sepia quality in Brahms’s work. 

 Gardner commends Trio Ernest on a strong debut and expresses anticipation for more releases from them on the Aparté label. “Haydn All-Stars” not only pays homage to a classical master but also establishes Trio Ernest as a captivating ensemble with a promising future. 

Susanna Mälkki’s exploration of Sibelius’s early orchestral works offers a captivating journey into the composer’s formative years, showcasing not only the richness of his compositions but also the evolution of his orchestral prowess. 

The Karelia Suite, Op. 11, opens the album with a delightful musical portrait of the region it is named after. Mälkki skillfully guides the Helsinki Philharmonic through the Wagnerian-influenced interludes, where rustling strings and horn calls create an optimistic atmosphere. The spirited middle section, with its well-balanced and mellow brass, exudes a folk-like character, giving listeners a glimpse into Sibelius’s scrappy yet charming compositional style of his early era. 

The Ballade, Op. 11, follows with an intriguing structure that mirrors the Intermezzo but places the spotlight on woodwinds. The Helsinki players deliver a lovely, blended sound, although a slightly drier articulation in the clarinet’s melodic line could have added more depth. The bassoon’s contrapuntal phrases, juxtaposed against a hymn-like texture, contribute to the piece’s overall beauty, accentuated by the outstanding SACD recording from BIS. 

Moving on to the Rakastava, Op. 14, Mälkki and the ensemble delve into the final 1912 revised version, showcasing Sibelius’s orchestration developments. The Lover, with its extreme registrations, evokes bold, vibrant emotions, embodying poignancy and yearning. In the Path of His Beloved exhibits excitement, although the performance could benefit from more noticeable variations in dynamics to fully capture the anticipated energy. Good Evening! stands out as a beautifully executed piece, with solo string voices creating an intricate interplay that transitions from coy charm to almost tragic farewells. 

The album concludes with the Op. 22 Lemminkäinen, a symphonic poem inspired by Finnish literary tradition. Mälkki skillfully highlights Sibelius’s growth in texture and color, particularly in the chattering winds of the first movement. The Swan of Tuonela, renowned for its darkness and mystery, is executed with finesse, drawing listeners into a world of introspection through delicate violins and poignant wind and string solos. 

While some performances of these works may be more vibrant, Mälkki and the Helsinki players deliver a commendable rendition across the board. The album’s curation, focusing on Sibelius’s early works, provides valuable insights into the composer’s creative trajectory, making it a compelling addition to any classical music enthusiast’s collection. Susanna Mälkki’s nuanced interpretation and the Helsinki Philharmonic’s expressive delivery make this recording a worthwhile exploration of Sibelius’s musical evolution. 

Meng-Chieh Liu’s CD “Chopin Nocturnes” is undeniable proof of his exceptional talent and deep understanding of Frédéric Chopin’s music. This collection of 21 Nocturnes is a two-hour journey into the heart of Chopin’s compositions, and Liu’s performance is nothing short of mesmerizing. 

From the very beginning of the CD with Chopin’s Op. 9, Liu showcases his technical prowess and emotional depth. The first three pieces set the stage for what’s to come, but it’s in the Nocturne in C-sharp minor Op. 27, No. 1 that Liu truly shines. His interpretation of this masterpiece is breathtaking. Starting with a Larghetto, Liu’s restraint and control are immediately evident. He allows the music to unfold naturally, gradually building to a climax that is both powerful and profoundly moving. As the initial theme returns, Liu’s performance imparts a sense of peace and serenity that lingers long after the music has ended. 

In the C minor Nocturne, Op. 48, No. 1, Liu’s virtuosity is on full display. While this piece is a favorite among pianists and audiences alike, Liu’s rendition is particularly poignant and emotionally charged. He navigates the intricate passages and dynamics with precision, evoking a wide range of emotions throughout the piece. 

Chopin’s Nocturne in E minor, Op. 72 No. 1, composed during a period of mourning, is performed with heartfelt sincerity by Liu. His use of the bel canto style is masterful, conveying deep emotions and a profound understanding of the piece. Liu’s performance is a moving and affectionate tribute to Chopin’s work, leaving a lasting impression on all who listen. 

Meng-Chieh Liu’s “Chopin Nocturnes” is a must-listen for lovers of classical piano music. His technical brilliance, emotional depth, and profound interpretation make this CD a standout in the world of Chopin interpretations. Whether you are a long-time fan of Chopin or new to his music, Liu’s performance is sure to captivate and move you. 

Alice Sara Ott’s rendition of Beethoven’s masterpieces, accompanied by the Netherlands Radio Philharmonic under the direction of Karina Canellakis, is a testament to the seamless union of technical brilliance and emotional depth. The CD radiates with an impeccable recording quality that captures the nuances of every instrument, creating an immersive sonic experience. 

The concerto, in particular, stands out for its remarkable clarity and realism. The orchestral tutti displays a perfect balance of energy and sensitivity, setting the stage for Ott’s entrance. Her initial notes are delivered with an almost improvisatory flair, showcasing her virtuosity and command over the piano. As she takes flight, there’s a delightful blend of delicacy and rhythmic wit that keeps the listener engaged. 

One of the notable achievements in this recording is the depth and breadth of stereo separation, allowing each section of the orchestra, from high winds to timpani and double basses, to shine individually. The development section is a highlight, with a beautifully veiled quality and a more relaxed tempo that doesn’t compromise the sense of direction. The recapitulation brings everything together, demonstrating Ott’s ability to navigate between moments of calm and intensity. 

The ‘Moonlight’ Sonata is treated with a refreshing lightness of touch. The brisk first movement maintains a lively pace, ensuring the accompanying triplets remain nimble and expressive. Ott’s interpretation of the Allegretto and Presto movements is equally impressive, showcasing a dynamic range that captures the essence of Beethoven’s intentions. The Presto, in particular, features quiet dynamics and satisfyingly irruptive chords that enhance the overall impact. 

In the four short pieces that conclude the album, Ott’s unique touch introduces a personal and expressive dimension. While some may find her rubato in the coda of the final piece a bit jarring, it undeniably adds a distinctive personality to the interpretation, making the concluding moments memorable. 

Overall, Beethoven by Alice Sara Ott is a captivating journey through some of Beethoven’s most iconic works. The combination of Ott’s exceptional piano artistry, Canellakis’ skillful orchestral direction, and the outstanding recording quality makes this CD a must-listen for classical music enthusiasts. It’s a masterful blend of technical precision, emotional depth, and artistic expression that brings Beethoven’s timeless compositions to life in a truly enchanting way. 

Théotime Langlois de Swarte’s latest release, “Vivaldi – Concerti per una vita,” presents a captivating exploration of Antonio Vivaldi’s instrumental works, showcasing the violinist’s profound understanding of the composer’s oeuvre and his commitment to expressing the inherent vocal qualities within Vivaldi’s concertos. 

In the accompanying booklet, de Swarte articulates his fascination with the emotive power of slow movements in Vivaldi’s compositions. This thematic focus on “vocality” becomes the guiding force throughout the album, with de Swarte’s interpretations emphasizing the singing quality of the violin. This unique perspective becomes particularly evident in the slow movements, which emerge as standout highlights in an extensive program that seamlessly blends world premieres, established works, and compositions by Vivaldi’s contemporaries. 

Collaborating with musicologist Olivier Fourés, de Swarte and the Le Consort ensemble assert that this recording completes the repertoire of all Vivaldi’s instrumental music discovered to date. The album’s strength lies in its diversity, featuring a range of world premiere recordings alongside well-known pieces like an intriguing early draft of the summer concerto from The Four Seasons (RV 315). 

Clocking in at around 2.5 hours, the album’s length might seem imposing, but it successfully avoids monotony through a rich tapestry of styles and textures. The use of various ensemble sizes, from intimate solos to full orchestral arrangements, contributes to a dynamically engaging listening experience. 

De Swarte’s virtuosity is unquestionable, evident throughout the album. However, it is his sensitive and nuanced approach that truly sets him apart. His violin produces a beautifully singing tone, bringing out the inherent lyricism of Vivaldi’s melodies. De Swarte’s phrasing is natural and inevitable, perfectly capturing the musical style without unnecessary embellishments. In particular, the Largo from RV 37a stands out, showcasing de Swarte’s mastery alongside the superb continuo group. 

The choice of gut strings and period-appropriate bows adds another layer to the interpretation, creating a warm and nuanced sound that complements the music’s essence. The tempos are lively but never rushed, allowing the compositions to unfold naturally. The pacing of the slow movements is thoughtful, avoiding any sense of dragging. 

Harmonia Mundi’s recording deserves praise for its warm and natural sound, effectively capturing the rich timbres of the instruments and the subtle nuances of de Swarte’s performance. “Vivaldi – Concerti per una vita” stands as a masterful journey through time, a testament to the violinist’s profound artistry and commitment to the expressive potential of Vivaldi’s music. 

In the ever-evolving landscape of classical music interpretation, the Kaleidoscope Collective offers a refreshing take on Schoenberg’s “Verklärte Nacht,” steering away from the increasingly common path of languid melancholy. In “Transfigured,” the ensemble ignites the youthful exuberance that fueled Schoenberg’s response to Richard Dehmel’s poem, reviving the work’s original sextet version with vigor and vitality. 

Elena Urioste and her colleagues infuse the performance with sinewy tones and a forthright attack, drawing the listener closer to Dehmel’s poetic narrative. The inclusion of the poem in the booklet provides valuable context, allowing the audience to appreciate the precise correspondence between notes and text, evoking the composer’s intentions vividly. 

“Transfigured” constructs a compelling musical journey, recreating an imaginary evening around 1901 in the company of Vienna’s musical luminaries. Gustav Mahler’s presence looms large, even in his absence, as Alma Mahler’s lieder take center stage. Francesca Chiejina’s dark mezzo-soprano hues add depth and emotion, suggesting her potential as a formidable Wood-Dove in “Gurrelieder.” Her mastery is evident as she delicately covers her voice and steps back from the microphone during the closing bars of Alma’s “Erntelied.” 

The recurring head motif from “Verklärte Nacht” permeates the opening of Zemlinsky’s work, hinting at the deep interconnection between the two composers. Whether Schoenberg knew Zemlinsky’s “Maiblumen blühten überall” in its unfinished state or both drew from a shared harmonic language, the Kaleidoscope Collective expertly highlights the chromatic harmony and aching suspensions of fin de siècle Vienna. This era saw the likes of Debussy and Stravinsky moving away from such romanticism, and Webern, on the cusp of change, demonstrated a more opulent tonality in his Piano Quintet’s first movement. The Kaleidoscope’s performance stands out, with Tom Poster’s impeccable articulation and thoughtful piano part balancing. 

“Transfigured” is a mesmerizing exploration of the musical zeitgeist of early 20th-century Vienna. The Kaleidoscope Collective breathes new life into these compositions, offering an alternative perspective that invigorates these timeless works. If you seek a departure from the slow and melancholic interpretations of “Verklärte Nacht,” this album is a delightful and thought-provoking choice. 

October 2024
Get ready for an extraordinary musical journey with the remarkable violist, Timothy Ridout, as he showcases Elgar’s Viola Concerto and Bloch’s Suite for Viola and Piano on this captivating CD. Ridout’s mastery and skill breathe new life into these lesser-known pieces, leaving listeners amazed and wondering why they haven’t experienced this musical marvel before.

The adventure begins with Elgar’s Viola Concerto, a rare gem rearranged by the renowned violist Lionel Tertis. Ridout flawlessly interprets Tertis’s arrangement, captivating us with his artful performance. Backed by the BBC Symphony Orchestra, conducted by Martyn Brabbins, the concerto shines as a captivating viola showcase, proving it deserves the spotlight.

Tertis’s respectful reimagining of the concerto, keeping the essence of the original while adjusting solo lines for the viola’s range, impressed Elgar himself, who conducted the premiere in 1930. Ridout’s expert rendition brings out the concerto’s brilliance, from nimble scherzos to poignant Adagios.

But the adventure doesn’t stop there! We delve into the unexplored world of Bloch’s Suite for Viola and Piano, a treasure trove of musical ingenuity. Originally composed for viola and later orchestrated, this suite is a delightful enigma, blending faux oriental themes, romantic grandeur, and daring modern twists.

Ridout, wielding his viola like a magic wand, unravels the Suite’s mysteries, revealing its hidden beauty with every stroke. The third movement, an enchanted nocturne, takes us to ethereal dreams with Ridout’s mesmerizing silvery tones, immersing us in the captivating music.

Elgar’s Viola Concerto and Bloch’s Suite are rare finds on disc, making Ridout’s interpretations even more astonishing. Prepare to join the fortunate few on this uncharted voyage through musical marvels, guided by Timothy Ridout’s virtuosity.

As a thrilling bonus, we encounter the resplendent works of César Franck, brought to life by the talented Alain Altinoglu and the Frankfurt Radio Symphony Orchestra. Franck’s Symphony in D Minor soars with resplendent harmonies, and Le Chasseur Maudit’s symphonic poem paints vivid images. The orchestral interlude from Rédemption pulls at heartstrings with its emotive melodies.

This CD isn’t just a collection of musical pieces; it’s an exhilarating quest into the unexplored wonders of the viola. Timothy Ridout’s enchanting artistry will captivate you until the final notes fade away. So, let the adventure begin, and immerse yourself in this thrilling escapade through the evocative world of the viola. Your ears will thank you, and your soul will be entranced forever.

Bernard Herrmann, renowned for his captivating film scores, demonstrates his profound affinity for English literature and language in the exceptional “Wuthering Heights” Cantata. The CD, released by Chandos, features the Singapore Symphony Orchestra under the skillful baton of Mario Venzago, accompanied by soprano Keri Fuge as Cathy and baritone Roderick Williams as Heathcliff. With an intriguing juxtaposition of passionate melodies and gloomy romanticism, this album presents a rich musical experience that traverses the depths of human emotion.

Herrmann’s love for English literature is evident from the outset, as he draws inspiration from Emily Brontë’s novel. The cantata encapsulates the operatic grandeur of “Wuthering Heights,” conveying its four acts and a prologue with a deep emotional resonance. Mario Venzago and the Singapore Symphony Orchestra masterfully capture the lush and dramatic landscape of the work, drawing out its complex emotions with every note. The orchestra’s prowess shines in the vivid instrumentation, delivering a symphonic tapestry that feels both intimate and expansive.

The vocal performances of Keri Fuge and Roderick Williams are nothing short of exceptional. Fuge’s soprano soars with crystalline clarity and emotional depth, perfectly capturing the essence of Cathy’s complex character. Williams’ baritone carries a raw intensity that embodies Heathcliff’s tormented soul. Their duets are poignant and heartfelt, as their voices intertwine to tell the tragic love story that lies at the heart of the cantata.

Hans Sørensen’s sensitive work in crafting the “Wuthering Heights” Cantata is commendable. With a deep understanding of both Herrmann’s style and the source material, Sørensen transforms the opera into a suite that captivates from beginning to end. The suite’s emotional journey is marked by shifts in mood, from fervent passion to brooding darkness. This structure mirrors the emotional rollercoaster of the original story, allowing listeners to experience its power even without the operatic staging.

The album’s companion piece, “Echoes,” further showcases Herrmann’s genius in string orchestration. Arranged for full string orchestra by Hans Sørensen, this work radiates a somber beauty reminiscent of a mist-shrouded cemetery. The haunting melodies weave together in a masterful interplay of light and shadow, evoking a sense of melancholic introspection.

Chandos’ recording quality is remarkable, capturing every nuance of the orchestration and vocal performances. The sound is rich and immersive, enhancing the emotional impact of the music. David Benedict’s notes provide valuable insights into the cantata’s composition and themes, although some listeners might find his descriptions a bit convoluted. Bernard Herrmann’s “Wuthering Heights” Cantata, presented by Chandos, is a stunning testament to the composer’s affection for English literature and his masterful orchestral storytelling. Mario Venzago’s direction, along with the exceptional performances of Keri Fuge and Roderick Williams, bring the story’s passionate emotions to life. Hans Sørensen’s adept arrangement transforms the opera into a captivating suite, while “Echoes” showcases Herrmann’s prowess in string composition. This CD is a must-have for both fans of Herrmann’s work and those seeking an immersive musical experience steeped in dark romanticism.

John Storgårds’ latest interpretation of Shostakovich’s Symphonies 12 and 15, released under the Chandos label, offers a unique perspective on these lesser-explored compositions. The standout feature of this recording lies not only in Storgårds’ insightful interpretations but also in the astonishingly lifelike surround sound production technique employed by Chandos. This release revitalizes two symphonies that have perhaps been overshadowed by the composer’s earlier and more well-known works.

Symphony No. 12, often referred to as “The Year 1917,” delves into the historical context of the Russian Revolution. Storgårds adeptly navigates the intricate emotional landscape of this symphony, capturing the revolutionary fervor while maintaining a firm grasp on the underlying emotional currents. The orchestra’s precision under his baton is evident, allowing each thematic strand to unfold with clarity and conviction.

The true gem of this recording is Symphony No. 15, Shostakovich’s final symphonic statement. Storgårds’ interpretation adeptly captures the interplay between the apparent playfulness of the composition and the deeper undercurrents of sorrow and reflection. The symphony’s enigmatic quotes and references are delivered with finesse, reflecting the composer’s ability to convey complex emotions through seemingly lighthearted gestures. Storgårds’ skillful handling of the symphony’s shifts in mood and texture showcases his deep understanding of the work’s nuances, offering listeners insight into the layers of meaning beneath the surface.

The historical context surrounding Shostakovich’s 15th Symphony cannot be overlooked. The performance evokes the composer’s own experience during its UK premiere, where his visible unease and discomfort seemed to reflect his personal struggles under the oppressive Stalinist regime. Storgårds’ interpretation resonates with this background, offering a performance that speaks to both the symphony’s surface-level eclecticism and the underlying somber tones reflecting the composer’s hardships.

Chandos’ surround sound recording technique complements Storgårds’ conducting expertise, creating an immersive sonic experience that places listeners within the heart of the orchestra. This attention to detail adds another layer of richness to the performances, enhancing the impact of every musical motif and thematic transformation.

In conclusion, John Storgårds’ interpretation of Shostakovich’s Symphonies 12 and 15, in collaboration with Chandos, presents a fascinating perspective on these works. The conductor’s insightful approach and nuanced understanding of the emotional complexities within these pieces infuse them with renewed vitality. The juxtaposition of the seemingly light-hearted and the deeply introspective elements in Symphony No. 15 is masterfully handled, while Symphony No. 12 benefits from Storgårds’ commanding direction. This recording is an essential addition to any collector’s library, shedding light on the lesser-explored corners of Shostakovich’s symphonic output.